The Swedish AALY with Mats Gustafsson, Kjell Nordeson and Ingebrigt Haker Flaten meet the Chicago based DKV with Ken Vandermark, Kent Kessler and Hamid Drake for three extended and awe-inspiring recordings.
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Catalog ID: od12035
Squidco Product Code: 8459
Packaging: Jewel tray, not sealed.
Recorded on September 23rd, 1999 at Airwave Studios, Chicago by John McCortney.
Mats Gustafsson-alto saxophone, tenor saxophone
Ingebrigt Haker Flaten-bass
Ken Vandermark-Bb clarinet, bass clarinet, tenor saxophone
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1. Left To Right 13:18
2. Angels 21:12
3. Awake Nu 17:07
Related Categories of Interest:
European Improv, Free Jazz & Related
Chicago Jazz & Improvisation
sample the album:
"Double or Nothing documents a meeting that was bound to happen, as likeminded and closely connected as these groups are. The Swedish AALY and Chicago DKV are both fiery powerhouse trios with a penchant for covering Albert Ayler and Don Cherry when not playing tunes of their own. DKV member Ken Vandermark has also joined AALY on each of that group's four albums. The result is what fans would expect, but no more. With AALY heard in the left channel and DKV in the right, the album opens with a recording of Vandermark's "Left to Right," which predates the version found on AALY's 2000 release, I Wonder if I Was Screaming. This time around, it kicks off with a five-minute drum duo by Kjell Nordeson and Hamid Drake. The rest of the album consists of a particularly dynamic performance -- ranging from sparsely quiet to shredding -- of Ayler's "Angels," a Vandermark favorite, which leads without break into Cherry's "Awake Nu." Both Mats Gustafsson and DKV would separately revisit "Awake Nu" in the next couple of years; these versions can be heard on The Thing (Crazy Wisdom, 2001) and Trigonometry (Okkadisk, 2002)."-Joslyn Layne, All Music
Get additional information at All Music
• Show Bio for Mats Gustafsson
"Born 1964 in Umeå, Northern Sweden.Saxplayer, improviser and composer. Solo artist and international tours and projects with a.o. Sonic Youth, Merzbow, Jim O´Rourke, Barry Guy, Otomo Yoshihide, Yoshimi, Ken Vandermark and in working groups The Thing, FIRE!, Gush, Boots Brown, Swedish Azz and Fake (the facts). Large ensemble work with Barry Guy New Orchestra,FIRE! Orchestra and the NU - ensemble.over 1800 concerts and over 200 record productions in Europe, Australia, Africa, North & South America and Asia.Collaborations with contemporary dance, theater, art, poetry as well as projects with noise, electronica, contemporary rock and free jazz.Discaholic - running the discaholic corner website.Producer of international festivals and concert tours as well as work with own record labels Slottet, OlofBright Editions and Blue Tower Records."-Mats Gustafsson Website (http://matsgus.com/archives/category/bio)
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• Show Bio for Ingebrigt Haker Flaten
"Ingebrigt Håker Flaten (b. 1971, Oppdal) - studied Jazz at the Music Consevatory in Trondheim, Norway (1992-1995) under the tutelage of bassplayer Odd Magne Gridseth.
When one listens to the great bassists in modern jazz history, a striking thing (though it may not be immediately arrived at) is that greatness is reached through open-mindedness and diversity. William Parker, Malachi Favors Maghostut, Peter Kowald, Wilbur Ware, Bertram Turetsky, Buell Neidlinger - all of these bass players have embraced a lifestyle of playing all sorts of music and the breadth of each musicians' technique is a testament to those experiences. Norwegian bassist and composer Ingebrigt Håker Flaten is also a musician whose experience is both geographical and aesthetic. While the fertile Scandinavian new jazz scene offered a vast amount of opportunities to work in different bands with musicians whose concepts are as individual as the grains in a reed, Flaten has found home and on-the-bandstand education in places as far flung as Chicago and his current residence Austin, Texas.
A muscular player whose tone and attack run the gamut from Paul Chambers to Buschi Niebergall, his sense of both openness and control serves ensembles as diverse as The Thing, Free Fall, Atomic, Scorch Trio and the Kornstad/Håker Flaten Duo. In addition to his own Chicago Sextet and Austin-centric Young Mothers, Flaten has also recorded and performed with Frode Gjerstad, Dave Rempis, Bobby Bradford, the AALY Trio, Ken Vandermark, Stephen Gauci, Tony Malaby, Daniel Levin, Dennis Gonzalez and numerous others. Flaten studied at the Conservatory in Trondheim (1992-1995), turning professional shortly afterward, yet his hunger to play in new situations with new musicians - schooled or amateur, frequently recorded or just starting out - puts him in a rare class, that of a truly broad-minded artist. That mettle has served him well, living and developing the music under his own steam and drawing from influences as diverse as Derek Bailey, George Russell, Chris McGregor, filmmakers Ingmar Bergman, contemporary pop melody and gritty punk music as well as everyday sights and sounds.
There is a calmness and self-assuredness that imbues all great artists, in that the diversity of their work comes with very little ego. Flaten's artistry is often in collective, leaderless ensembles and in fact, following a decade of professional musicianship it wasn't until 2004 that his leader-debut was released - Quintet (Jazzland, followed in 2008 by The Year of the Boar, and a Sextet recording is upcoming). This latter fact is partly due to the necessity of a copacetic situation - in an interview in 2010 with the Austinist he noted that "I use people where I'm located. It's inspiring to have your own band to write for, but you have to make sure that people feel free and not limited by the music; the compositions should lead the way to a player's open mind, and that is a challenge." Certainly not every bandleader/composer thinks this way.
In 2011, he formed another ensemble, The Young Mothers, which includes drummers Stefan Gonzalez (Dallas) and Frank Rosaly (Chicago), trumpeter/poet/rapper Jawaad Taylor (New York), saxophonist Jason Jackson (Houston), and Jonathan Horne (Austin) on guitar. It's a group of varying levels and influences and as it grows organically, will be another excellent lens through which to view Flaten's aesthetic, philosophy, and musicianship. The next few years see him in a position where established ensembles can steep and spread their influence, while experimenting with and nurturing a wide range of new relationships."-Ingebrigt Haker Flaten Website (http://www.ingebrigtflaten.com/about-me/)
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• Show Bio for Hamid Drake
"Hamid Drake (born August 3, 1955) is an American jazz drummer and percussionist. He lives in Chicago, IL but spends a great deal of time touring worldwide. By the close of the 1990s, Hamid Drake was widely regarded as one of the best percussionists in jazz and avant improvised music. Incorporating Afro-Cuban, Indian, and African percussion instruments and influence, in addition to using the standard trap set, Drake has collaborated extensively with top free-jazz improvisers. Drake also has performed world music; by the late 70s, he was a member of Foday Musa Suso's Mandingo Griot Society and has played reggae throughout his career.
Drake has worked with trumpeter Don Cherry, pianist Herbie Hancock, saxophonists Pharoah Sanders, Fred Anderson, Archie Shepp and David Murray and bassists Reggie Workman and William Parker (in a large number of lineups)
He studied drums extensively, including eastern and Caribbean styles. He frequently plays without sticks; using his hands to develop subtle commanding undertones. His tabla playing is notable for his subtlety and flair. Drake's questing nature and his interest in Caribbean percussion led to a deep involvement with reggae."-Wikipedia (https://en.wikipedia.org/wiki/Hamid_Drake)
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• Show Bio for Kent Kessler
"Kent Kessler (born January 28, 1957 in Crawfordsville, Indiana) is an American jazz double-bassist, best known for his work in the Chicago avant-garde jazz scene.
Kessler, born in Crawfordsville, Indiana, grew up on Cape Cod and began playing trombone at age ten. He and his family moved to Chicago when he was 13, and a few years later Kessler became intensely interested in jazz. While attending St. Mary Center for Learning High School, he began taking lessons from Kestutis Stanciauskas (Streetdancer) in electric bass and jazz theory in the middle of the 1970s. In 1977 he formed the ensemble Neutrino Orchestra with percussionist Michael Zerang and guitarists Dan Scanlan and Norbert Funk. He spent three months in Brazil during 1980-81 and spent time studying intermittently at Roosevelt University in Chicago; he and Zerang also formed a group called Musica Menta, which played regularly at Link's Hall.
Kessler began playing double bass in the 1980s and it became his primary instrument when he was asked in 1985 to join the NRG Ensemble, who toured Europe and recorded for ECM Records under the leadership of Hal Russell until his death in 1992. In 1991, he gigged with Zerang and guitarist Chris DeChiara; in need of a hornist, they called Ken Vandermark, who had been considering leaving the Chicago scene. Kessler and Vandermark would go on to collaborate extensively on free jazz and improvisational projects such as the Vandermark 5, the DKV Trio and the Steelwool Trio. In the 1990s and afterwards he worked with Chicago musicians such as Hamid Drake, Fred Anderson, and Joe McPhee, and also with European musicians such as Peter Brötzmann, Mats Gustafsson, Misha Mengelberg, and Luc Houtkamp.
In 2003, Kessler released a solo album, Bull Fiddle, on Okka Disk. Kessler performs alone on nine of the twelve tracks, and with Michael Zerang on three."-Wikipedia (https://en.wikipedia.org/wiki/Kent_Kessler)
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• Show Bio for Ken Vandermark
"Born in Warwick, Rhode Island on September 22nd, 1964, Ken Vandermark began studying the tenor saxophone at the age of 16. Since graduating with a degree in Film and Communications from McGill University during the spring of 1986, his primary creative emphasis has been the exploration of contemporary music that deals directly with advanced methods of improvisation. In 1989, he moved to Chicago from Boston, and has worked continuously from the early 1990's onward, both as a performer and organizer in North America and Europe, recording in a large array of contexts, with many internationally renowned musicians (such as Fred Anderson, Ab Baars, Peter Brötzmann, Tim Daisy, Hamid Drake, Terrie Ex, Mats Gustafsson, Devin Hoff, Christof Kurzmann, Fred Lonberg-Holm, Joe McPhee, Paal Nilssen-Love, Paul Lytton, Andy Moor, Joe Morris, and Nate Wooley). His current activity includes work with Made To Break, The Resonance Ensemble, Side A, Lean Left, Fire Room, the DKV Trio, and duos with Paal Nilssen-Love and Tim Daisy; in addition, he is the music director of the experimental Pop band, The Margots. More than half of each year is spent touring in Europe, North America, and Japan, and his concerts and numerous recordings have been critically acclaimed both at home and abroad. In addition to the tenor sax, he also plays the bass and Bb clarinet, and baritone saxophone. In 1999 he was awarded the MacArthur prize for music."-Ken Vandermark Website (http://kenvandermark.com/2013/10/made-to-break-biography/)
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